A path toward the Grail — whatever form your Grail happens to assume — may not look much like anybody else’s. It may not even look like a path at all. You call it your life. (As Druid Kris Hughes likes to say, “What other people think of us is none of our business”.)

We talk so freely in terms of a path, or a journey, that often we forget it’s a metaphor and take it as simple fact. Seven hundred years ago, Dante began his great poem the Divine Comedy “in the middle of the journey of our life”, suggesting that there’s just the one journey we all take. (He turns personal immediately after that, when he exclaims that he “came back to himself in a dark wood, where the direct way was lost” — where he had lost it. “The only way out is through”, says Robert Frost. “You got to get in to get out”, sing Genesis.)

Following on the metaphor, I try to “get somewhere” over time, teachers and parents urge me “make my own way”, it’s important to “look back” from time to time, to see “how far we’ve come”, to take stock “along the way”, to wonder “where we’re going”, “how long the journey will be”, and “when we’ll arrive”. We follow a yellow brick road to some Oz or other, or climb a Led Zeppelinesque stairway to heaven, or party along an AC/DC highway to hell, we look for guides and signposts, we’re told there’s no map, or just one, or millions. (If such pervasive metaphors interest you, check out George Lakoff’s Metaphors We Live By.)

The great Spanish poet Antonio Machado exclaims “we make the road by walking”* in Campos de Castilla (and in other collections).

Druid-like, I trust bards over bureaucrats, because objectively they listen to wider possibilities of awen.

The one essential is our participation in the cauldron sound, as I attempted to describe in the previous post, Grail 1. We all do this already, of course, by being born, blood thrumming with our heartbeats, attuning to the musics of our cultures, the sounds of our languages, the ceaseless waves of the sea. Birth grants us a “minimum daily requirement” of the all-pervading sound. But a quality journey asks for more, for some effort on our part. We can, of course, choose to tread water through our lives — one option, to be sure, and one that can appeal if life seems too hard otherwise.

The cauldron sound accompanies us as we set out, and with our conscious attention and participation, grows loud enough to help us find a path, guide us to walk it as only we can, and help us know when we’re done that the joys were worth all the pains.

Or as Carlos Castaneda’s teacher Don Juan Matus puts it, with the calm authority of one who has found out for himself:

Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition. I warn you. Look at every path closely and deliberately. Try it as many times as you think necessary. — The Teachings of Don Juan: A Yaqui Way of Knowledge.

R Tagore

To say it another way, I strive “to be the cause in my own life”, not “the effect of other people’s emotions, viewpoints, and efforts to control us”.** The cauldron sound, “the one companion of my life”, as Bengali poet Rabindranath Tagore sings, assists me in listening to my own song amidst the clamor of the “apparent world”, as OBOD ritual terms it. Some hear it as a subtle nudge, an intuition. Others hear it in the words of friends, a chance conversation with a stranger, a song lyric, a dream, a brightness in something read, or overheard at the grocery store. Awen will get through.

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*“Wanderer, your footsteps are the road, and nothing more; wanderer, there is no road, the road is made by walking. By walking one makes the road, and upon glancing behind one sees the path that never will be trod again. Wanderer, there is no road — Only wakes upon the sea” — A Machado.

This unseasonably cold spring offers a number of powerful lessons. The first is in studying people’s reactions to the cold vs. the land’s reactions to the cold. Humans have grown to expect predictable certainty; the certainty of the seasons coming on a schedule that we could depend on, the certainty of USDA* zones and last frost dates. But that’s not what this planet can offer us anymore. Predictable certainty says that by mid April, we “should be” firmly in the spring months. There “should be” buds and flowers. There “should be” warmth. But climate change prediction models say otherwise–-the East Coast of the USA, where I live, is likely to see shorter springs and longer winters, particularly as the jet stream continues to shift. The truth is that spring will come, but it may take longer than any of us would like. Spring will come and frost will come, and summer and fall will also come-–but no longer on predictable schedules. The daffodils understand this-–they simply wait. The animals and insects understand this–-they wait. The flowers and seeds understand this–-they, too, wait.

I recently obtained a copy of Hewson’s Dictionary of Proto-Algonquian (Canadian Ethnology Service Mercury Series Paper 125). If we’re serious about wanting to talk with the spirits and land-wights in North America, and we also want to avoid cultural appropriation of living languages and practices, why not go to the source?! Just like with Proto-Indo-European for Europe, we can learn Proto-Algonquian! (Right now I’m looking at how place-names are constructed.)

Except.

One of the fallacies we cherish involves continuity and change. In our search for authenticity we often grant an unconscious, and sometimes conscious, primacy and superiority to “languages-spoken-when”: we study Old English or Old Icelandic if we’re Heathens or Asatruar, we turn to Irish or Welsh or Gaelic to be truer to the Celtic tradition, just as Catholics may pick up some Latin if they attend Catholic schools or regularly attend a traditional Mass, and more conservative Jews acquire some Hebrew as a language of their heritage and tradition for Bar and Bat Mitzvahs and Seders and Synagogue prayer and ritual. Languages of lore and wisdom are valuable gifts from the past, from the ancestors.

But just as speakers of English no longer speak Old English as a native tongue to greet the dawn and the land, or pass the bread and butter, the spirits and land wights can connect through our modern tongues just as well with us, and we with them, as we ever could in the past.

Robert Frost, old bard of the land, like any true bard, had access to Otherworld wisdom. You can hear it in “The Gift Outright” (which I often return to when this topic comes up), through the views and stances and limits of his time — as through ours, limits which we cannot yet wholly see — when he peers into that deeper well for vision and understanding:

The land was ours before we were the land’s.
She was our land more than a hundred years
Before we were her people. She was ours
In Massachusetts, in Virginia,
But we were England’s, still colonials,
Possessing what we still were unpossessed by,
Possessed by what we now no more possessed.
Something we were withholding made us weak
Until we found out that it was ourselves
We were withholding from our land of living …

Possession, possessed by, withholding — we carry deep attitudes and archetypes not lightly to be dismissed. Indeed, they are part of our work. But for all that, the Land where I live here in New England doesn’t “withhold” itself from me because I say Lake Champlain rather than Bitawbakw, or Burlington rather than Winooski. Rather I withhold myself through heedlessness. It’s my intent and practice that make up any difference.

view of Nubanusit from Hancock, NH

Every land has seen many people on it come and go. The language — any language — is for my comfort and focus — for any act of consciousness. If out of respect I devote energy to learning old ways of address, the Otherworld (and this world) accepts that gift in the spirit it is given. Let it outweigh other considerations, though, and I’ve stepped out of balance. To use the terms of the previous post, my speech and ritual are my cauldron and wand.

Yes, it’s still a pleasure to say the New Hampshire Abenaki lake names Skatutakee [skah-TOO-tah-kee], Nubanusit [noo-bah-NOO-sit] and Winnepesaukee [win-neh-peh-SAH-kee], even if they’re poorly Anglicized.

Names matter. Echoes remain. That’s how we fashioned a modern Druidry. Trust the echoes, if they’re all I have at the moment, follow them, and they lead to the originals.

Wiccan ritual often demonstrates an instinctive understanding of the power and wealth of names and naming. The Charge of the Goddess reminds us to attend to echoes and inner music:

Listen to the words of the Great Mother; she who of old was also called among men Artemis, Astarte, Athene, Dione, Melusine, Aphrodite, Cerridwen, Cybele, Arianrhod, Isis, Dana, Bride and by many other names …

Here we’re close to the Jewish Psalm 137, a song of exile sung in Babylon:

How shall we sing the LORD’S song in a strange land? If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.

If I do not recall and recite the old names, may I lose the power of speech as proper penalty. A curse, just as with a blessing, is not a thing to be summoned lightly.

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To paraphrase the old adage of the Hermetic Mysteries: “Pilgrim on earth, thy home lies in all the worlds; stranger, thou are the guest of gods”.

MacLir (cited below and in the previous post) notes:

We find other wands in myths that are the sources for our modern wands. One wand user, the Greek god Hermes (Roman Mercury), has long been linked to passage between earth and the higher realms. The staff or rod … the caduceus of Hermes-Mercury has come to be associated with healing and the medical profession due to its similarity to the rod topped with a brazen serpent employed in the Bible by Moses to work healing magic. It has also been mixed up with the wand of Asklepios, a Greek demigod closely associated with medicine and healing. Asklepios used a wand that is usually depicted as a rough branch with a single snake spiraling around it (Wandlore, pg. 7).

Wand, staff, ogham stave, intention to plant, to sow and to manifest, I honor you.

Spring, east, dawn, wind, intelligence, will, knowledge, wand-realm — cauldron has called you forth, evoked and invoked you. Kundalini, serpent power always coiled, wand and cauldron, now I will work with you both, doing the work humans are uniquely called to do, standing between earth and heaven, foot and hand in so many worlds.

Here we are, about two weeks out from Beltane/May Day — or Samhuinn if you live Down Under in the Southern Hemisphere. And with a Full Moon on April 29 (0058 GMT April 30) there’s a excellent gathering of “earth events” to work with, if you choose. Thanks to the annual Edinburgh Fire Festival, we once again have Beltane-ish images of the fire energy of this ancient Festival marking the start of Summer.

You may find like I do that Festival energies of the “Great Eight”* kick in at about this range — half a month or so in advance. A nudge, a hint, a restlessness that eases, a tickle that subsides, or shifts toward knowing, with a glance at the calendar. Ah! Here we are again!

Effective people, says Philip Carr-Gomm in his little book Lessons in Magic, “use both their cauldrons and their wands”.

Often a short quote like that is enough to launch me, set me off on reflection and contemplation and experimentation. (Echoing the near-endless spate of how-to books and guides to personal transformation, the idea of being “more effective” underlies the Protestant work ethic, its distortions in the American disdain for the poor as deserving their struggle, and much besides of bad and good.)

Put “effective” into the most crass terms: how to get what you want.

We often assume creativity — inspiration — comes first, and any manifestation second. But just as with so many things, it can be illuminating to examine assumptions as much for what they leave out as in. What can we learn, I ask, from both its truths and falsehoods?

The most famous creation story portrays both a creator and an “earth without form and void, and darkness … on the face of the deep”. Some translations suggest we can reasonably render the first few lines like this: “When God was creating the heavens and the earth, the earth was formless and empty, and darkness hovered over the waters”. In other words, creativity needs material to work on. And the material in this version of the story is already present. Creation in such a case is a forming and shaping of cosmic substance already in existence.

You could say the cauldron is the scene — the stage for creation, the setting. Without it, no workshop, no lab, no tubes of paint and brushes and palettes. No place for anything to “take place” — an idiom itself full of significance and teaching. Everything hovering, like the spirit of the god over the waters in the Genesis account, but no entry-point into manifestation. Waiting in creative tension, but with no results. Brooding on the nest, but no eggs to sit and warm and hatch.

And here’s the wand — or a compass in this case. Some kind of magical tool or instrument helps focus our creative energy.

French — ca. 1250

But Carr-Gomm rightly lists the cauldron first. Cauldron — Grail — womb of Mary in the Christian story — these precede creation. And they’re not passive, either, Mary is invited — not compelled — to nurture and carry the divine child. Her assent isn’t automatic, or pro-forma. Blessing our materials — inviting their participation — helps our creative process. Indeed, some kind of blessing is the key that makes creativity possible. We just often do it unconsciously. Ritual can help prod us to greater awareness. (As with all careless acts, ritual done badly can send us deeper asleep.)

For the Grail in the Arthurian mythos truly “has a mind of its own”. Though it may seem to be “just an object” — the goal of male knightly questing — it’s the Grail that chooses who ultimately satisfies its steep requirements, who may catch a glimpse, and when it will materialize and manifest.

The Wikipedia entry for “Holy Grail” notes that Chrétien de Troyes, the first to put the story in its Medieval form in the 1100s with Perceval as questing knight,

… refers to this object not as “The Grail” but as “a grail” (un graal), showing the word was used, in its earliest literary context, as a common noun. For Chrétien a grail was a wide, somewhat deep dish or bowl, interesting because it contained not a pike, salmon, or lamprey, as the audience may have expected for such a container, but a single Mass wafer which provided sustenance for the Fisher King’s crippled father. Perceval, who had been warned against talking too much, remains silent through all of this and wakes up the next morning alone. He later learns that if he had asked the appropriate questions about what he saw, he would have healed his maimed host, much to his honour.

So much of value here to note: the importance of a middle way between extremes, applicable to easily perceived tools in hand as well as more subtle tools like language. Don’t talk too much, but don’t shut up entirely..

With the slipperiness inherent in non-physical things and experiences, and the names we give to them, the san graal or “holy grail” becomes in Medieval French also the sang real “royal blood”, launching one of the oldest conspiracy theories still popular today concerning the possible existence of surviving lineal descendants of Jesus and Mary Magdalene. Add to this the World War II legends of a struggle between Hitler and “the forces of Light” for possession of the historical Grail and its immense powers, and you set the stage for the flowering of a new generation of Grail myths and legends. Archetypes continually regenerate; indeed, the Grail is among many other things an illustration of just such archetypal power.

And as we know from our own experiences with creativity, there are indeed many grails each time we manifest something — even if you prefer that they’re all subsidiary to a single magical One and Holy Grail. (Which in a certain sense they are.) Another question to ask, practice to experiment with: “What is the grail in this situation?”

Now this is all well and good, you say. Good fun, diverting, the stuff of fat best-sellers and million-dollar movie scripts and much silliness in pop culture and media. What of the wand? And what does any of this have to do with me?

Fear not. The wand gets at least its fair share of star billing before the end.

To take a turn through pop culture, why does Harry Potter take Hagrid’s advice and seek out Ollivander’s, apart from Hagrid’s plug that “there ain’t no place better”? Harry needs a wand. He survived the attack on him as an infant, with the scar as mute but vivid testimony of its potency.

But for any serious and conscious creative-magical work (all creativity is inherently magical), he’ll need a wand. It’s simply a matter of time before we ourselves come to the same conclusion.

“I wondered when I’d be seeing you, Mr. Potter!” says Ollivander.

And as with active Grail, the wand, we learn from Ollivander’s, and elsewhere, “chooses the wizard”. [Note how tall the interior of the shop is in the video clip — the airiness and “head-space” appropriate to a wand. And it’s at Ollivander’s words “I wonder” as he goes for the third wand that we hear again the hallmark and mysterious musical theme.]

And of course, with the tradition of clusters of three long associated with things magical, the third wand’s the charm.

Franz Bardon, no slouch when it comes to personal experience, magic and occult instruction, observes in his fine text Initiation into Hermetics that

Everything that can be found in the universe on a large scale is reflected in a human being on a small scale” (pg. 31) and “A true initiate will never force anyone who has not reached a certain level of maturity to accept his truth” (pg. 55).

Again, as with so many things, truth is better treated as experimental — to be tested through our own direct experience, rather than either swallowed credulously, or rejected out of hand — both falling short of the magical quality inherent in threes. Either-or too often simply misses the point we seek.

A wand extends and sharpens the creative ability — the inspiration and clarity of East, the dawn, air, what a bird sees when it flies, the overview, the big picture, the influx of Light from the sun. Its time is spring — the perfect tool in the hand of a gardener, whose version may take the form of trowel or spade.

Consult the recent and masterly exposition Wandlore and you’ll discover a major key:

The most basic hidden secret of magic is that the wizard must go within … inside the mind, and there, encountering Hermes, lord of communication, be led into the otherworlds.

As Carr-Gomm notes in The Druid Tradition, talking of Iolo Morgannwg, the brilliant creative mind behind much of the Druid Revival, but with important teaching more widely applicable and relevant to today’s headlines,

… when it comes to working with the esoteric, we are to large extent under the influence of Mercury, or Lugh, the god of communication between human and divine worlds … But Mercury is also the god of thieves and of deception — of stage magic, and the manipulation of illusion as well as of high magic — the manipulation of consciousness and the causal world. Those who have not clarified their relationship with Mercury fall prey to both aspects of his influence, and it is then hard for the academic [or anyone! — ADW] to understand how the same person can combine genuine material with the fraudulent, how they can channel both divinely inspired insights into Druidry and complete nonsense, how they can be upright and honest and engage in deception or delusion (pg. 27).

And rather than belabor the benefits of walking a spiritual path, and also to cover a truly immenseamount of ground, the end result, recorded in T. S. Eliot’s grand poem The Four Quartets, in the last line of the final section “Little Gidding“, is that “the fire [of wand and purified will] and the rose [of the Grail and the perception of spiritual unity] are one”.

Change the names, goes the old Latin tag from Horace, and it’s a story about us.

Smithers, a Lancashire awenydd, poet, blogger at Signposts in the Mist, and devotee of Gwyn ap Nudd, has mediated in her latest book a challenging prophetic vision of psychic and environmental shattering in the image of the Cauldron, that ancient and present manifestation of birth, wisdom and regeneration. Spiritual vessel, military-industrial grail, the Cauldron contains both dream and nightmare.

Through prose retellings of Celtic myth and legend, through poems that grapple with this world and that Other that has always deeply haunted us, Smithers links voices, times and places. She revisits the central Druidic myth: Gwion Bach’s transformational encounter with — and theft of — the Three Drops of Inspiration. Holding it up for careful scrutiny, she underscores its immense cost to species and planet. In one retelling she speaks in the voice of Ceridwen’s grotesque son Afagddu, “Utter Darkness”. It is for him that Ceridwen has set the Cauldron brewing in the first place, hoping for his transformation, posting the hapless Gwion to tend it. In a painfully apt contemporary twist, Gwion’s a negligent employee at a chemical plant, daydreaming through a reactor disaster, though acquitted in the subsequent court case.

But Afagddu’s gifted with his own preternatural wisdom, knowing Ceridwen still apologizes for him, even as she dreams of him “suave, clean-shaven, the head of the company in a priceless suit with ironed-in creases” (pg. 74). How we persist in our stubborn lusts and blind dreams.

The five subtitled sections of the book capture something of its span: “The Broken Cauldron and the Flashing Sword”, “Ridiculous”, “Drowned Lands”, “Operation Cauldron” and “Uranium”.

What will we do, we whose minds are “shrunken and empty of gods”? Smithers’ patron deity accuses us all in the person of Arthur, whose profaning raids on the Otherworld have gained humanity a magical treasure, true, but loosed a devastating tide of death. In a triad of admonition to human raiders on Annwn, the Otherworld, Gwyn ap Nudd declares: “Lleog, lay down your sword. Taliesin, cast your mind from praise poems. Arthur, be true to your bear-skin past, hear your bones and the star of the north” (pg. 10).

Listen to our bones, heed the stars: a quest each of us may still accept or decline.

For it is the Otherworld that restrains the increasingly violent rebalancing we have brought on ourselves. And it is there we find “a cauldron that is whole and filled with stars, the infinite reflection of the womb of Old Mother Universe” (pg. 7).

As a solitary, Smithers turns here from a mythos that has long troubled her. She declares her preference for Afagddu, refusing “complicity in the mysteries of Taliesin” whose limitless hunger to despoil and pillage and consume “can only lead to the world’s end” (pg. 8).

It lies in grappling with the double edged-ness of the “flashing swords” of the raiders on Annwn, I would add, that we may at last learn wisdom. Can we learn to gauge and compensate for both gain and cost? Whether we do or no, the Otherworld will assert its balance. A unique book.

“For I too am Efnisien.” The rite closes, each man of us — for this is a men-only event — repeating the words, hands lifting from between our feet the small black cauldrons, and cupping them. They’re warm to the touch still, from when they sat in the central fire-pit. Owning our rage, not looking away from it. Seeing its destructiveness, children and women often its first victims, men themselves its last. Acknowledging the difficult gift of anger, accepting what it might have to teach. Allowing the possibility of transformation, gift of the Goddess whose symbol is the cauldron. Echoes of another country, sun-kissed and prone to earthquakes. Echoes of another story, the same story, permeated with male anger, opening with dark words: “Rage — Goddess, sing the rage of Peleus’ son Achilles, murderous, doomed, that cost the Achaeans countless losses …”*

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The army of Bran is enormous, as if all of Wales has emptied itself and spilled onto the eastern shore of Ireland. The beaches lie dark with men’s shadows. So great is the full extent of their coming that the heart runs out of the Irish, knowing they can never win in open battle. It must be by trickery. So they raise a great house to receive Bran and his men, and the outcome hangs in the balance. Perhaps we can avert war after all, run the rumors, at least among those who don’t know that in the towering new hall, a hundred bags hang from the rafters. And each holds and conceals an Irish warrior. The bulging sacks of coarse cloth supposedly contain merely flour, part of the provisioning for the enemies-turned-guests. A great feast this night, promise the Irish. We will mend this rancor between us.

More and still more of the Welsh forces pour into the camp. Among the leaders one stays suspicious. Efnisien, prince, brother of Bran and Branwen. Never an easy man, this twin of gentle Nisien. The muscles ripple beneath his shoulders, and his hands twitch. Do nothing, brother, till I return, he finally mutters to Bran, and stalks off scowling to reconnoiter the hall. The last of the Welsh have finally joined the main body of warriors when Efnisien returns. His hands and torso drip now with blood, and a fierce grin splits his face. Dead now, he says, exulting. Scores of them, waiting to fall on us at the feast. He has crushed upwards of a hundred Irish skulls like walnuts. His eyes glow with it.

The second part of the Irish plan for the night, the feast, still proceeds on schedule. In the center of the hall a great fire burns, the andirons orange in the heat. In the flickering glow, a hall full of warriors whose armbands and bracelets throw back the light, a glitter of silver, jewels and red gold. No more room indoors, men find a place outside. Under torchlight they mingle and stare at each other. Amid the roasts and savories, the mead and forced cheer along the benches, the Irish plot is a whisper that will not die, that no one admits to hearing. A call for everyone’s attention, and Gwern, the young prince and heir, child of Matholwch and Branwen, is presented. Here is one path to peace, a child who unites the two nations in his own flesh. Bran makes much of him. Nephew, sister’s son, certain blood kin, a hallowed relationship since time out of mind. But Bran also gazes at his sister sitting beside his brother-in-law Matholwch, notes the painful thinness of her figure, the faint yellow of old bruises on her skin, a tightness around her mouth that does not go away. Their eyes meet again and again, and they need no words to speak whole histories to each other. Well, brother? says her look. I have come, says his.

The feast does no good, even if either side wished it. The Irish, their plot foiled, are touchy, all nerves, and warriors on both sides take every feasting jest the worst way. Tempers run high, spiked with strong drink, and a scuffle breaks out, unsurprisingly, around Efnisien. It spreads, and in the reckless fighting, Gwern, the shining prince, gets thrown into the massive firepit.** By Efnisien. His and Bran’s nephew, Branwen’s boy.

At this, both sides drop all pretense. The fighting spreads, ferocious. The Irish just keep coming, endlessly, until Efnisien spies the magic cauldron, the gift of Bran for the now accursed wedding between Welsh and Irish royals. Matholwch’s men have turned it to good purpose, deploying it to revive their fallen fighters. What use, what hope is it to kill men who don’t stay dead?!

Efnisien shakes his head to clear away some of the battle lust. Think! he commands himself. The red fog that clouds his mind thins briefly. And then he’s got it, a way forward. He flings away his own sword, grabbing one of Irish make, and throws himself among the Irish corpses awaiting resurrection. He lies still as he can, trying to slow his heavy breathing. The cauldron itself must go. Soon enough, as he foresaw, the Irish don’t stop to pick and choose, but toss each Irish corpse into the cauldron, hurrying on to the next. From the depths of the magic vessel comes a deep hum. Steam rises from it, along with a roar of distant voices that shakes its sides.

Efnisien feels himself lifted, then dropped. How long he seems to fall! Then a sudden heat hugs him, burning along each nerve and vein. Everywhere his skin seems to melt into agony. The death-destroying power of the cauldron — but he is already alive! With a last surge of strength, he somehow finds his feet, shoving his arms out to both sides, the cauldron a scalding quicksilver fury against palms and soles. He heaves hard, harder. The cauldron, and Efnisien too, shrieks, cracks and shatters. Then blackness.

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Bran carrying the body of his nephew Gwern/Harlech Castle, Wales

How many others can be dead, and none matter but two? Bran thinks. Gwern lost, and his sister Branwen all but dead from grief. On all sides, heap upon heap of bodies lies. The Irish who had assembled against them? All slain. And the endless army of the Welsh? Of those lines and squads and battalions of men who crossed the Irish Sea with him, just seven survive.

Part Four recounts the return of the Seven to Wales.

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*Fagles, Robert. The Iliad. Penguin Classics, 1999.

**This act of Efnisien’s is explained by one source as “avoiding the geasagainst shedding kinsmen’s blood.”